Finally ... Greatness!

I've been trying to steer this away from strictly movie reviews (and have been swamped with school-related issues for some time), which has led to a dearth of posts. Right now, though, I can't help but talking about one that's been gnawing at me...

Cloud Atlas - 4/5
(dir. Lana Wachowski, Andy Wachowski, Tom Tykwer)
I've written about Cloud Atlas once before, in reference to actually having read it before I knew a movie version was coming, and thus being ahead of the cultural curve.

Cloud Atlas is big, far-reaching, take-no-prisoners filmmaking at its finest. This is a film so assured of itself and so well planned and prepared that you can't help but admire the craftsmanship. (It's said that David Mitchell, author of the novel, actually thinks the film does a better job capturing the themes and ideas he was aiming for.) The visual effects are first-rate, the dialogue is appropriately lofty without drifting into pretense (these are BIG THEMES we're talking about here, so don't expect naturalism), and the editing keeps the film moving briskly, even at three hours. Much has been said about the make-up effects in the film, and while I can admire the intention and especially the ingenuity in creating some characters, you can't ignore the fact that some of these make-up jobs draw too much attention to themselves. A number of actors completely disappear, but just as many (if not more) stand out like sore thumbs. It makes sense thematically why certain actors continually fill certain "types," but it may have been a bit too much for them to change races/genders to do so. Hugo Weaving is a great example. A long-time favorite of the Wachowskis, he is here again playing a number of heartless villains; but given his build and distinct voice, it was a bit of a stretch for him to play a ruthless female nurse.

What impresses me most about the film is just how singular, complete, and unified the material feels, given the disparate storylines/themes/tones and multiple directors (three total - one working singly, the other two as a team). The "story," as it were, spans hundreds of years (maybe even a millennium - we're not given a "hard" date for the final one) and focuses on about six protagonists, if I remember right. Most of the tales are dramatic, but there is also a pot boiler/whistle blower-type story and a broad, hilarious farce to keep things from getting too "heavy." As you might assume, this is more a story of ideas and themes than traditional "protagonist's journey" material.

Little preview of the "types" everyone plays, as well as some of the make-up effects

The film is largely concerned with history, relationships, and revolutions. History: in the ways we constantly repeat the same mistakes and societal short-comings (slavery and subjugation a recurring theme); relationships: in what defines "love" and "family," and the mad things those values can lead us to do; and revolution, of course, in the way we subvert these ideas and initiate change - hopefully for the better. This is the film's "message," perhaps writ a little too large: things may be bad, but they can always change - hopefully for the better... always for the better.

A number of people have asked me about the film's relationship to the book... As I mentioned in my review of the book (very bottom of the page), the technique is so bold and unusual that you can't help but talk about it. The book is good and a wonderful read, but we have to be honest: it is a bit gimmicky. The film version (even at three hours) pares each narrative down to its essential elements, and as such feels more thematically unified - no small feat for a film with such a wide range of tones and settings. If you're a big fan of the book, I think you'll admire the film. I can't imagine why you wouldn't. Looking at each narrative on its own, you might say that a number of characters aren't as well developed (a constant problem in film adaptations), or that too many things were altered - or outright removed - but when you look at the result, I think we can all agree that the changes were actually for the better. By removing extraneous material, by focusing on the protagonists and their essential relationships, by having the actors repeat archetypes - all these changes underline the broader arc and "story" that much better... At least in my opinion. And if you haven't read the book, don't worry - it's not necessary. You may have a bit more mental juggling to do to keep up with the shifting timelines and narratives, but the editors do a nice job of linking and transitioning throughout centuries.

After being perpetually disappointed at the movies this year, it's nice to be surprised. It's nice to see something worth writing about.